Simon Green aka Bonobo's magnificent fourth album 'Black Sands' is his most eagerly-anticipated and most accomplished album to date. Green proves once and for all with 'Black Sands' that he is an artist and producer with his sights set on much higher prizes than to rule any dusty subgenre of dance music. This is a record of epic reach and massive emotional pull, all held together by Green’s understanding of composition and arrangement of live instruments (most of them played by Green ...

Simon Green aka Bonobo's magnificent fourth album 'Black Sands' is his most eagerly-anticipated and most accomplished album to date. Green proves once and for all with 'Black Sands' that he is an artist and producer with his sights set on much higher prizes than to rule any dusty subgenre of dance music. This is a record of epic reach and massive emotional pull, all held together by Green’s understanding of composition and arrangement of live instruments (most of them played by Green himself) as well as his complete mastery of the tricks and techniques of the digital age; 'Black Sands' is the most contemporary record he has ever made.

Opening track 'Kiara' sets out Bonobo’s stall quickly. Yes, there is an exquisite string refrain, reminiscent of Chinese art movies, but Green places this within the context of a thumping beat, deep synths and cut up vocals. 'Kong' seems closer to the soul-jazz template which has long influenced the Bonobo sound but each further listen showcases both the intricacy of his productions and the subtlety with which he achieves them. The skipping beat of 'Eyesdown' and the way he weaves Andreya Triana’s vocals through layers of sub-bass show Green making his own moves with the influences of two-step.

First single 'The Keeper' shows Green and Triana coming through with their most intense, emotional soul jam to date, while 'Animals' sounds like Joy Division jamming with Steve Reich and a bloco band. Title track 'Black Sands” finishes the album with a perfectly judged, melancholy waltz, waves of horns swelling up to the kind of finale that sings in your ears even after it has stopped.

Since Simon Green’s last album 'Days To Come', he has become one of Ninja Tune’s biggest artists worldwide, with a series of sell out tours with his live band moving from venues such as the Luminaire to the Kentish Town Forum and the Roundhouse. This combination of superb live shows and studio wizardry means that he is now perfectly placed to push on into a yet bigger league - with 'Black Sands', Bonobo has made the record to achieve it.

Simon Green aka Bonobo's magnificent fourth album 'Black Sands' is his most eagerly-anticipated and most accomplished album to date. Green proves once and for all with 'Black Sands' that he is an artist and producer with his sights set on much higher prizes than to rule any dusty subgenre of dance music. This is a record of epic reach and massive emotional pull, all held together by Green’s understanding of composition and arrangement of live instruments (most of them played by Green ...

Simon Green aka Bonobo's magnificent fourth album 'Black Sands' is his most eagerly-anticipated and most accomplished album to date. Green proves once and for all with 'Black Sands' that he is an artist and producer with his sights set on much higher prizes than to rule any dusty subgenre of dance music. This is a record of epic reach and massive emotional pull, all held together by Green’s understanding of composition and arrangement of live instruments (most of them played by Green himself) as well as his complete mastery of the tricks and techniques of the digital age; 'Black Sands' is the most contemporary record he has ever made.

Opening track 'Kiara' sets out Bonobo’s stall quickly. Yes, there is an exquisite string refrain, reminiscent of Chinese art movies, but Green places this within the context of a thumping beat, deep synths and cut up vocals. 'Kong' seems closer to the soul-jazz template which has long influenced the Bonobo sound but each further listen showcases both the intricacy of his productions and the subtlety with which he achieves them. The skipping beat of 'Eyesdown' and the way he weaves Andreya Triana’s vocals through layers of sub-bass show Green making his own moves with the influences of two-step.

First single 'The Keeper' shows Green and Triana coming through with their most intense, emotional soul jam to date, while 'Animals' sounds like Joy Division jamming with Steve Reich and a bloco band. Title track 'Black Sands” finishes the album with a perfectly judged, melancholy waltz, waves of horns swelling up to the kind of finale that sings in your ears even after it has stopped.

Since Simon Green’s last album 'Days To Come', he has become one of Ninja Tune’s biggest artists worldwide, with a series of sell out tours with his live band moving from venues such as the Luminaire to the Kentish Town Forum and the Roundhouse. This combination of superb live shows and studio wizardry means that he is now perfectly placed to push on into a yet bigger league - with 'Black Sands', Bonobo has made the record to achieve it.